B FIELD Teaser trailer
Filmed by @alinebelfort
Edited by me
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Choreography, performance and costume: Lorea Burge
Dramaturgical support and sound design in collaboration with @bobbybrim
Space & light design in collaboration with @marianacatalinairis
This work was developed within PACAP 6 – Performing Arts Advanced Programme, curated by Sofia Dias & VĂtor Roriz and promoted by Forum Dança.
SONUS FOSSIO
2026.06.13 - 22.00
PDF Pasaiako Dantza Festibala
@etanowski -ren bideo fantasia hau, @ikergozategi -rekin batera egin genuen saiokoa, @loreaburge eta biok, @julenegr -ren estilismo batzuekinđź–¤
PETER, dance with… S3 Ep5 with Lorea Burge.
I’m so happy to meet, dance, chat, and share this dance with Lorea.
I hope you enjoy listening as much as I enjoyed being there.
Listen wherever you get your podcasts.
New episodes every third Monday.
#dance #choreography #dancepodcast #performance #voice #improvisation #ukdance
(In) Company Morning classes are curated by Lorea Burge as part of their research within the Rose Choreographic School. Lorea invites artists that inspire and complement their practice to facilitate a class at the start of their working studio day. These classes will range across different artistic practices and mediums and are open to experienced practitioners to join in for free.
These sessions will be hosted by Temitope Ajose. Temitope is a London based dance artist who’s interests include myth, psychology and magic.
This workshop will draw from Temi’s experience and interest in dream work from a Jungian perspective. She will lead a session exploring the imaginary, liminal, absurd, and ambiguous time frame that dream experiences operate within, from an embodied sense. Using voice, text and body to relocate us from the conscious choices to the unconscious field. Participants are invited to bring a recent dream!
To book a space in this workshop, please visit the link in our bio.
Disclaimer from Lorea: I am aware that Sadler's Wells is in partnership with Barclays, a bank that is actively arming, supporting and profiting from Israel's apartheid regime against Palestinians. The Rose Choreographic School is hosted by Sadler’s Wells but is not funded by Barclays. Though we cannot disentangle ourselves completely from this complicity, I am actively engaged in the campaign against Barclays and the genocide and am involved conversations asking the institution to drop its ties. You can read a statement from the Rose Choreographic School cohort on the website.
@olivehardy & @loreaburge at @southbermondseyfestival 🧼🌫️
A sneak peak into some moments from Olive and Loreas durational work. Cast shadows through petroleum jelly obscuring their figures amongst the dark industrial backdrop of south Bermondsey.
Photographs by @twinklecatcow
My speech from CWAG march Sep 14th:
We campaign under the belief that art should never be an instrument of reputational laundering for complicit corporations. The role of culture should be to imagine and model better ways of being, and this should start with the institutions themselves.
The zionist lobby has a web that extends further than I can comprehend, through our government, financial bodies, institutions, and wealth. Existing in this system implicates us all, and therefore we cannot separate ourselves from the atrocities happening in Palestine. We have a moral responsibility to intervene and put pressure on the institutional bodies that represent us and demand that they do the same. In arts institutions we see zionism’s fingerprints manifested through their sponsorships, programming choices, and in their silence. To dismantle it we need to first identify where it lies within our networks and workplaces. All actions no matter how big or small will make a difference.
It goes without saying that any sacrifice we make in this movement for justice, is nothing compared to those of Palestinians in Gaza and the West Bank who for over 77 years have been stripped of their rights. As an artist, I like many others, depend on institutions for work, exposure, and financial support. Yet when they refuse to question their funding sources, it puts the weight on us to either stay silent or risk our livelihoods by speaking out. We dont want our work to be complicit in genocide. We want to be proud of our industry, and this is why we say no to culturewashing.
We must remind institutions that they also depend on us. If they continue to ignore us they risk losing the very community that makes them, and without us, they cease to exist.
Back in 2020, after the horrific killing of George Floyd we saw thousands of people join the Black Lives Matter movement and take to the streets to call out racism. This rightfully trickled into institutions also taking a stance and committing to anti racist practices. Yet today they are falling short on this commitment...
Continued in comments...
First image by John Chan.
Thoughtographs: Lorea Burge
Conversation 4.
Thoughtographs is a new interview series that captures moments and movements within choreographic research practices. The dialogues aim at making visible the thought processes of artists, through language and other phenomenena, which might otherwise not be evident in presented work.
In this conversation, Martin Hargreaves interviews Lorea Burge. Lorea shares thoughts on gigs, DIY, labour, co-ops, and activism.
To read this conversation, please visit the Publications page in our bio.
